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[crimesagainsthughsmanatees]

[magictransistor]

Paul Klee. Die Idee der Tannen. 1917. 

[contac]

[gypsy074]

[6ftaboveground]

[colin-vian]

[thunderstruck9]

René Magritte (Belgian, 1898-1967), L’agent secret, 1959. Oil on canvas, 70 x 50 cm.

via colin-vian

[funkatron9000]

[surrealism]

Colonies We Wanted to Make by Michael Vincent Manalo, 2015. Digital mixed-media, 80 x 80 cm.

[rebel6]

[biisousss]

[dappledwithshadow]

Egon Schiele Mountain Torrent 1918

[yidan]

[silkvelvetnight-deactivated2017]

[lawrenceleemagnuson]

Camille Bombois (France 1883-1970) Lake with Cypress oil on canvas 54 x 65.3 cm

[stuonsongs]

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“Mr. Telephone Man” is the best song New Edition ever did, and that’s a bold statement because New Edition had a lot of great tunes. It might even be the best song that anyone related to New Edition ever did, a list which includes Bobby Brown, Bel Biv DeVoe, Johnny Gill, and Ralph Tresvant.

The tune was written by Ray Parker, Jr. of “Ghostbusters” and Raydio fame. The dude had a knack for writing smooth AM gold standards and “Mr. Telephone Man” was one of his best offerings. It’s got so much working for it right from the get-go from the great chord progression to the thick R&B bass to the insanely catchy lead synth line. It’s so great how the vocal harmony pad comes in at the fifth bar and the guitar plays that quick descending line before the synth lead picks up again. I get how some people might think that synth sound is super cheesy, but come on, just break it down to the elements of harmony, rhythm, and melody and you’ll see that it’s legitimately well composed. I mean, if this were written in 1972 or so, those lead synth lines would be trumpets and the secondary lead that happens on the and of two during the third bar would be flutes and muted trumpets. If you try and hear it like that, there’s no denying that it’s timeless.

If you’ve ever read this blog before, you know I’m a sucker for vocal harmony and the chorus of this tune has that working. The subtle guitar work in the background of the second verse is very nice, but avoids drawing attention to itself. The breakdown over the intro form is so great as Michael Bivins pours his heart out to the titular character. Don’t get me wrong because I love that rap section, but the best part of this section is the background vocal pad and the way the bass really lets loose.

It gets even better when we return to the chorus and, after repeating the regular chorus once, we get treated to a secondary chorus where the lead vocal adds a new melody over different background vocals which really help drive the tune home. It’s so well composed that I will forever tip my hat to Mr. Ray Parker, Jr.

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[990000]

Shōnen Wa Nihonjim - Watashi No

(via risingtensions)

amazing